The New Yorker's Scores

  • Movies
  • TV
For 1,582 reviews, this publication has graded:
  • 38% higher than the average critic
  • 1% same as the average critic
  • 61% lower than the average critic
On average, this publication grades 1.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Voyage of Time: Life's Journey
Lowest review score: 0 Bio-Dome
Score distribution:
1582 movie reviews
  1. The director looks empathetically at lives of convention and duty that stifle romance and desire, but she reduces the fiery literary lovers to ciphers.
  2. This literal-minded movie sells old pieties and washes away fear so thoroughly that it creates a new kind of fantasy, in which all's right with a very troubled world. [21 April 2014, p.110]
    • The New Yorker
  3. Transcendence is a muddle; it takes more creative energy than this to catch up to the present. [28 April 2014, p.86]
    • The New Yorker
    • 51 Metascore
    • 50 Critic Score
    Aside from Heche, who is a quick, witty actress, the film seems to reside in a bizarre time warp of bad seventies comedy, complete with retrograde ethnic stereotypes and huge, jiggling breasts.
  4. Much of the dialogue is scissor-sharp--you would expect no less of Marber, who wrote "Closer"--but he is up against blunt and obvious material.
  5. Yet Oblivion is worth the trip. There are two reasons for this. The first is the cinematography of Claudio Miranda.
  6. It's essentially a skit idea, not a dramatic idea, and the best the movie does with it is to repeat it. What saves Bridesmaids is Feig's love of performers - in particular, his love of actresses.
  7. The action simply doesn't have the exhilarating, leaping precision that Spielberg gave us in the past... The joyous sureness is missing. [12 June 1989]
    • The New Yorker
  8. As it is, the movie's lethal climax, with its vague protest against corporate control--and hence in favor of art, music, drugs, or whatever--feels like a poor theft from a more conventional film.
    • 79 Metascore
    • 50 Critic Score
    The correspondences he wants us to see from up there start to look contrived, illusory. [27 Sept 1993, p.98]
    • The New Yorker
  9. When the credits were over at last, I sighed, and took away a moviegoer's fantasy of Ledger and Miller starting work again, far away from Venice and ball gowns, on something that might be worth seeing.
  10. The movie may have significant truths to impart, although I have my doubts, but it feels too inexperienced, too unworldly, to have earned the right to them.
  11. He can follow any train of thought, so he does, and it’s no surprise when the trains run out of steam.
  12. No surprise, then, that Goldblum seems a little lonely and marooned in the latest venture, which suffers from a nagging case of Smithlessness.
  13. LaBute's didactic purpose kills any possibility of frivolous entertainment. [19 May 2003, p. 94]
    • The New Yorker
  14. The Man Who Knew Infinity, based on Kanigel’s book, and directed by Matthew Brown, feels sluggish and stuck, and it hits an insoluble crux.
  15. There are too many rancors--hatred of life, hatred of others, hatred of their means to happiness--to contend with here, and the loveliness of the verse beats fruitlessly against them, as if against a wharf.
  16. There are two drawbacks here. One is a shortage of superior zombies, although where one goes to rent extra zombies I have no idea...Second, we have a serious shortage of fright. [30 June 2003, p. 102]
    • The New Yorker
  17. Tomorrowland is a bright and pliable sci-fi thriller that stiffens into a sermon. Can’t it just be fun?
  18. Spurlock's documentary will tell you how, and whether, you should join the pilgrimage. Because I have never watched "Battlestar Galactica," and because of my absurd reluctance to dress up as Wonder Woman, I wouldn't last five minutes. [23 April 2012, p. 82]
    • The New Yorker
  19. Often quite beautiful. But Madagascar, which was directed by Eric Darnell and Tom McGrath, is mismanaged pretty much from start to finish.
  20. The topic is so grave, and the corralling of ancient Greek comedy so audacious, that you long for Chi-Raq to succeed. Sad to report, it’s an awkward affair, stringing out its tearful scenes of mourning, and going wildly astray with its lurches into farce.
  21. What makes Valkyrie more depressing than exciting is that it forces you to ask, against your judgment, what, exactly, he achieved.
  22. The only performer who seems at ease is Luchini, eternally hangdog, who in one juicy moment spies Gemma and her beau-to-be, at a market stall, and confesses not to envy but to “a strange kind of jubilation” at seeing Flaubert’s narrative lock into place.
    • 59 Metascore
    • 50 Critic Score
    The director, Neil Jordan, and his cinematographer, the great Philippe Rousselot, have given the movie an extraordinary seductive look, but Rice (who wrote the screenplay) doesn't provide enough narrative to keep the audience satisfied.
  23. Holy Motors is full of larks and jolts, but the movie is so self-referential that it's mainly aroused by itself. The audience, though eager to be pleased, is left unsatisfied. [22 Oct. 2012, p.88]
    • The New Yorker
  24. It is no mean feat to make a boring film about Jesse James, but Andrew Dominik has pulled it off in style.
  25. Never quite shrugs off its literary manners. [18 & 25 Feb 2002, p. 200]
    • The New Yorker
  26. The good news is that Matchstick Men is saved. Not by the plot, which entails a con so long that you can spot it coming a mile off, but by the presence of Alison Lohman. [22 September 2003, p. 202]
    • The New Yorker
  27. It’s a sad movie--funny, yet wounded and bewildered.

Top Trailers